- Campbell’s wonderful 1967 release finally makes its Hot Stamper debut here with outstanding Double Plus (A++) sound on both sides
- This vintage Capitol pressing is spacious, sweet and positively dripping with ambience – here is the Tubey Magical Stereoscopic presentation these kinds of recordings are known for
- 4 1/2 stars: “The best of Campbell’s early albums, and also his first real commercial success. . . Campbell’s cover of ‘Catch the Wind’ is one of the finest covers of a Donovan song ever done, stripping away any hint of the composer’s sub-Dylan pretensions and bringing out the song’s genuine beauty — it’s folk-pop, in the same manner that Peter, Paul and Mary’s cover of Dylan’s ‘Blowin’ in the Wind’ was, but excellent folk-pop.”
- This superb bossa-nova classic finally makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound from first note to last on this original Capitol stereo pressing
- Here is the Tubey Magical richness, size and space that only the best vintage pressings are capable of conveying to the critical listener
- The brilliance of this All Tube Chain recording from Capitol in their heyday makes all the hard work you’ve put into your system pay off
- Music To Listen To Barney Kessel By finally returns to the site with KILLER Shootout Winning Triple Plus (A+++) Contemporary Stereo sound on both sides
- Their stuff just doesn’t get any better than this. Tubey Magic, richness, sweetness, dead-on timbres from top to bottom — this is a textbook example of Contemporary sound at its best
- For those of you who appreciate what Roy DuNann (and Howard Holzer on other sessions) were able to achieve in the ’50s at Contemporary Records, this LP is a Must-Own
- Unless you already have it, which is doubtful considering how hard it is to find a copy in clean condition
- Barney Kessel and his five reed players take these standards and make magic with them — for fun, relaxing jazz it’s hard not to love this one
This vintage Black Label Contemporary Stereo LP from has DEMO DISC QUALITY SOUND. No other copy we played was in a class with this bad boy — it does it ALL.
How can you beat a Roy DuNann recording of five reeds, piano, guitar and a rhythm section that includes Shelly Manne and Red Mitchell? The timbre of the instruments is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off.
The Demo Disc sound on this copy is really something to hear – all tube, live-to-two-track direct from the Contemporary studio. It’s pretty much everything you want in a recording from this era. I’d love to keep it but when would I have time to play it? I can assure you I will sleep very well knowing that it’s going to a good home. (more…)
- A KILLER copy of Sunflower with Shootout Winning Triple Plus (A+++) sound from first note to last
- This pressing is surprisingly rich and smooth, with excellent bass and the kind of breathy immediacy to the vocals that only vintage vinyl can offer
- 4 1/2 stars: “[Sunflower] signaled a creative rebirth for the band, a return to the beautiful harmonies and orchestral productions of their classic mid-’60s material.”
This album — like Surf’s Up, which was released just after it — can really sound wonderful on a good pressing. If you love Pet Sounds, you’ll find plenty of the Beach Boys’ signature harmonies here, all recorded with real richness and warmth. (more…)
The immensely talented engineer ROBIN GEOFFREY CABLE worked his audio magic on this album. You may recall that he recorded a number of the greatest sounding rock records of all time, Elton John’s self-titled second album and Tumbleweed Connection, both in 1970, as well as this album and Nilsson Schmilsson in 1972, with Richard Perry producing.
One more note: having your VTA set just right is critical to getting the best out of this album. The loudest vocal parts can easily strain otherwise. Once you get your settings dialed in correctly, a copy like this will give you the kind of rich, sweet sound that brings out the best in this music.
- A great sounding copy with Nearly Triple Plus (A++ to A+++) sound from start to finish – this one was nearly as good as our Shootout Winner, hence the Nearly Triple Plus grades
- These sides are rich, spacious, big and Tubey Magical, with virtually none of the smear on the piano that holds so many other copies back
- Here’s proof that the sound found on these early Columbia 360 Label Stereo pressings is absolutely the right one for Monk’s music
- 5 stars: “Although he would perform and record supported by various other musicians, the tight — almost telepathic — dimensions that these four shared has rarely been equalled in any genre… Monk’s Dream is recommended, with something for every degree of Monk enthusiast.”
- The band’s superb 1973 release makes its modern Hot Stamper debut here with KILLER Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
- Bass and body are key to the best pressings, along with Prog Rock energy, and here you will find plenty of all three
- A powerful, dynamic recording, yet the Island Tubey Magical Richness and Smoothness are always there to keep the proceedings from getting out of hand.
- 4 1/2 stars: “… this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor.”
NOTE: This copy has a label misprint – Side 1 has a Roxy Music Avalon label even though it’s a King Crimson Record, while Side 2 has the correct label.
- On side one, the first half-inch of Track 1, Larks’ Tongues In Aspic, Part One, is moderately ticky.
Sometimes the copy with the best sound is not the copy with the quietest vinyl. The best sounding copy is always going to win the shootout, the condition of its vinyl notwithstanding. If you can tolerate the problems on this pressing you are in for some amazing King Crimson music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
Like any KC record, this album alternates its soft parts and its heavy parts. The soft parts sound oh so sweet and delicate, each intricacy revealed to perfection by the out-of-this-world recording quality, while the heavy parts sound big and bold, augmented by Fripp’s meaty, fuzzed-out guitar and Bill Bruford’s savage percussion.
What’s uncanny about this pressing is how the softness and heaviness play off each other, transitioning into one another, WITHOUT LOSING A THING. With most prog rock records, once the bombast starts kicking in, all the intricacies of the midrange and top end get washed out. But when this pressing’s rockin’, the subtle contribution of the mellotron in the background can still clearly be recognized, floating above the clouds, tying everything together, with all of Bill Bruford’s intricate percussion effects along for the ride. (more…)
- An outstanding copy of Trower’s amazingly well recorded Psych masterpiece with solid Double Plus (A++) sound on both sides
- This early UK pressing is huge, rich and punchy, with guitar solos that soar like few others you’ve heard
- Brilliant engineering by Geoff Emerick at George Martin’s AIR studios – maybe the best sounding album Emerick ever made
- Top 100 and 4 1/2 stars on AMG: “…his most stunning, representative, and consistent collection of tunes. Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower’s extensive catalog.”
We’d been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until about 2015 when we finally stumbled upon a certain UK Chrysalis pressing in audiophile playing condition.
Now we know just how good this album can sound. How good? Astonishingly good. The three-dimensional space is positively breathtaking on the best UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time (1971) such a mind-expanding experience. Both albums have the kind of High Production Value sound that we go crazy for here at Better Records. You can find many of our favorites in our Rock and Pop Top 100, and if we can find more of this title, it will surely be on the list as well. (more…)
- A Killer Copy: Triple Plus (A+++) on side two, nearly Triple Plus (A++ to A+++) on side one, and Double Plus (A++) on the rest
- This British original pressing may have been mastered in America but it sure sounded better than most of the domestic vinyl we played
- Key elements in the sound of the best pressings were size, richness, Tubey Magic and energy, and these sides have a sizable helping of all four
- Amazon reviewers love the album – 86% of them as of this writing have given it Five Stars
Listen to side two of this copy to hear exactly what the best sounding copies can do! (more…)
- Gordon’s wonderful 1971 release finally makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound or close to it throughout – exceptionally quiet vinyl too
- So transparent, open, and spacious that nuances and subtleties that escaped you before are now front and center
- Everything you want in the sound of a good Folk Rock album is here in abundance – enjoy!
- “. . . an album that has him curling up with both his guitar and his kind, fragile voice . . . . Summer Side of Life helped strengthen his songwriting and refine his delicate vocal style.”Summer Side of Life helped strengthen his songwriting and refine his delicate vocal style.”
Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings). (more…)